Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kyrgyzstan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1971.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lee Hazlewood to the jazz kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gong. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Mo-Dettes,
Deutsch Amerikanische Freundschaft,
Lower 48,
Buzzcocks,
The Toasters,
The Gun Club,
Slick Rick,
The Standells,
The Black Dice,
The Mojo Men,
Public Image Ltd.,
The Mighty Diamonds,
B.T. Express,
Brass Construction,
Eurythmics,
Pete Rock & C.L. Smooth,
Roxette,
Nirvana,
the Association,
Piero Umiliani,
H. Thieme,
Severed Heads,
Kauko Röyhkä ja Narttu,
The Jesus and Mary Chain,
Excepter,
Banda Bassotti,
New Age Steppers,
Yellowson,
Gang Green,
Avey Tare,
Slave,
Traffic Nightmare,
The Tremeloes,
The Cramps,
Alton Ellis,
Electric Prunes,
Masters at Work,
Alphaville,
Skarface,
Dorothy Ashby,
Goldenarms,
Lightning Bolt,
Rekid,
Patti Smith,
Big Daddy Kane,
The Dirtbombs,
Sad Lovers and Giants,
Gian Franco Pienzio,
Hashim,
Stetsasonic,
Ornette Coleman,
The Human League,
Black Sheep,
Michelle Simonal,
Scott Walker,
The Fall,
Nick Fraelich,
Dual Sessions,
Tim Buckley,
Eric Copeland,
Suicide,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.